Saturday, February 9, 2008

In It for the Money is the second album by Supergrass, released in 1997. NME called it "more fun than watching a wombat in a washing machine" and named it the 10th best album of the year. In 1998, Q readers voted it the 68th greatest album of all time, while in 2000 the same magazine placed it at number 57 in its list of the 100 Greatest British Albums Ever. Its sound is more focused and ambitious than their debut, I Should Coco.

Their music is a breed of their own, combining elements from a variety of styles to call their own. Heroes & Zeros got its name because it represents the highs and lows in life.

There is a myth in the rock-industry, which claims that the more hard work you put into it the more you deserve success. The number of gigs and miles in a rusty old van supposedly defines whether or not you deserve to be taken seriously. Heroes&Zeros deny this myth by throwing in the golden X-factor that many aspiring bands often are lacking. We are talking about something as simple as a talent for making classic rock-songs. In the course of their four-year existence Heroes&Zeros has shown that it need not take 15 years to break through as long as you underline amazing talent with hard work.

Hans Jørgen Undelstvedt, Lars Løberg Tofte and Arne Kjelsrud Mathisen climbed onto a stage together for the first time at Skuret in Oslo in 2005, after spending two years in a cramped rehearsing room deciding on which direction they wanted to go musically. A friend of the band once described the music and said: While the bass-player and drummer has both feet in American rock, the singer wants to sing in a British indie-band. When asked about important albums the trio mentions Radiohead, Sonic Youth, Flaming Lips, Motorpsycho and Indie-rock is heavily represented. - Sebadoh and Pavement paved the way through lo-fi, and we have had long standing relationships with Pixies and Spiritualized, says singer Hans Jørgen.

The audience was quick to embrace the epic and melodic rock of Heroes&Zeros. - On our first show 90 people showed up, on the next 180, we doubled our audience instantly, Arne says. After a couple of gigs the trio entered one of the local finals of Zoom, and won easily a spot on the coveted Zoom-tour which took them all over Norway. - Ever since our very first gig we have focused on playing live as much as possible, it has snowballed from then on really, explains Lars

It snowballed quickly for Heroes&Zeros, who did not waste any time deciding what to do with their music. - We recorded our first song "Cellophane" because we needed something to send off to by:Larm. That recording went on to win the "Urørt" final on the national radio station P3 and subsequent heavy rotation. In 2006 they released "Circles EP", and the success on P3 secured Heroes&Zeros a spot on National Broadcasting's annual P3 Sessions-tour that summer. Heroes&Zeros opened the event playing live for 5000 people at Youngstorget in Oslo. Once again Heroes&Zeros proved what they're good for, even though the singer Hans Jørgen admits a black out for most of the half hour they were up on stage. - I can barely remember a few faces upfront who sang along, other than that it's all a blur to me, but it's a handy experience I guess now that we're lined up for this year's summer-festivals

This year's summer-festival-rounds is based upon "Strange Constellations",which is the result of three years of dedicated hard work and fine-tuning of the trio's talent for writing songs. In a time when media proclaims Armageddon for the music-industry and others claim that the album-format is smothered by downloading of singles and an increasing focus on hits, "Strange Constellations" is proof that you ought to spend more than three or four minutes on an artist. - I believe that the audience will make a return to the album. People really need that hour or so of music, and not just one song by an artist. Creating a cohesive and complete album was a constant ambition for Heroes&Zeros when they recorded the ten songs on "Strange Constellations". - It's important to have a plan in the studio. We have recorded an album, not just ten random rock-songs.

In this respect Heroes&Zeros is in a unique position as a Norwegian rock-band who both produces radio-hits and full-fledged solid albums. The single tracks "Cellophane" and "Into the Light" are already modern Petre-classis so to speak, whereas their latest single "A Strange Constellation" showcases a new side of the band. - "Strange Constellations" does not rest on just a couple of tracks, there's no fillers thrown in between a couple of singles. We're definitely an album-band; that our songs works on the radio is a pleasant bonus.

The lyrics contrasts the epic rock on "Strange Constellations", however, opposed to the music the lyrical unity was discovered more by chance, according to the writer Hans Jørgen. - We considered naming the record "Always Wanting More Than Enough", which is a line from "Headlong Kicks". It orbits around voracity, turmoil and restlessness, which reflects the lyrics on the album as a whole; a voracious appetite towards people and experiences. When I discovered this I saw that it went as a red thread through all the lyrics.

The band rose to prominence during the Britpop era in the mid-90s with their hit "Alright". The band's youthful image and music (two of the band members were still teenagers when the band formed) came as a contrast to the more serious bands such as Oasis, Blur and Suede. The band's main musical influences are Buzzcocks, T.Rex, the Jam and The Kinks. They combined these influences with traits of the pop-punk era, characterized by fast, three-chord, guitar-based, catchy tunes. On their own the band's jubilance and musicality have influenced many new artists as Arctic Monkeys, The Coral, The Fratellis, Kaiser Chiefs and The Vines. Troy Carpenter, co-director of Nude as the News describes the band as "a fun-loving rock group whose undeniable musical talent is sometimes overshadowed by the sheer ebullience of its music.[1]

Their first albums I Should Coco (1995) and In It for the Money (1997) were a blend of British pop and pop punk. Their eponymous Supergrass or the X-Ray Album (1999) was a new direction to darker lyrics, but again preserving the pop-sensibility. As the band have grown up as musicians their latest albums feature more musical sophistication than their first efforts. The band's fourth album Life on Other Planets (2002) was a retreat to the poppines of the early days, while still developing their sound. The band then released their first compilation of singles Supergrass is 10 (2004) commemorating their first decade as a band. Their fifth album Road to Rouen (2005) featured more orchestral and darker material than before, with many pointing as a reason the death of Coombes' mother. The band are preparing their sixth album Diamond Hoo Ha for March 2008 release.

The album naturally reflected a rough period for the band and as it was oriented towards longer, looser, more orchestral material. The record was highly acclaimed and well received by most fans of the band; it reached a respectable #9 on the UK charts. But some listeners were disappointed in the album, expecting the band's friskier style, rather than the darker lyrics

I Should Coco was Supergrass' 1995 debut album. This album was released at the height of Britpop when numerous small bands were springing up, usually influenced by what were seen as the two biggest bands in the movement, Oasis and Blur. Supergrass were one of the few bands who went on to have lasting success.

Chart-wise, I Should Coco reached Number 1 on the British album chart.

Singles

"Caught By The Fuzz" #43

"Mansize Rooster" #20

"Lose It" #75

"Lenny" #10

"Alright"/"Time" #2

Culturally, the album's glorification of teenage freedom made a very big impact on the overall Britpop music scene. The whole genre was seen as the voice of youth, but Supergrass dealt with the subject most elaborately, being still in their teens themselves when the album was made. The most well-known song from the album, "Alright", is still played regularly in Britain and Ireland, and held up as an example of teenage rebellion in music.

To date, it is the only Supergrass album that has made any impact in the United States of America. The videos for "Caught By The Fuzz" and "Alright" were in rotation on MTV in the USA.

You have to imagine Syd Matters alone in his flat with the dawn fingering at his window. He hasn’t talked to anyone for a week and the hours and days are gradually slipping by him. One by one, childhood memories come back, sometimes they clash. He composes crystal-clear tunes on his guitar, the din of the world is far away and he listens to the music inside of him. And when day comes, the song is suddenly there. Syd experiences a strange sense of joy, feels incredibly present and at the same time as if he was floating. These are his “Ghost Days”, as he puts it. They provide the title of his third album – which also happens to be his most beautiful one to date. It’s not that Syd’s been idle up until now. The Parisian Jonathan Morali, alias Syd Matters, came from nowhere to make a big impression at the first Les Inrockuptibles QED awards – he was only 22 at the time – and his two spellbinding albums have since won over both critics and the general public. The first was “A Whisper And A Sigh” (2003), riding on the back of the space-folk hit “Black & White Eyes”. Then came “Someday We Will Foresee Obstacles” (2005) which was enhanced by large-scale, enthralling, Pink Floyd-style concerts – it’s worth mentioning that Jonathan had by this time surrounded himself with four musicians in his own vein, Olivier, Jean-Yves, Clément and Rémi, who bring a new dimension to Syd Matters. He was also much talked about this autumn with the release of the film “Heartbeat Detector”, for which he composed the soundtrack. He now says that this was a decisive experience for him, one that helped him grow.

This hefty double album often sounds more like a compilation than a coherent whole, with musical ideas bouncing frantically back and forth. Nevertheless, in typical Cure style, KISS ME, KISS ME, KISS ME successfully combines catchy pop with bitter despair. Through 17 immensely sensual songs, Robert Smith is at his most poetic ("strange as angels, dancing in the deepest ocean, twisting in the water, you're just like a dream") and vitriolic ("get your fucking voice out of my head...I never wanted any of this, I wish you were dead"). The joyous pop of "Just Like Heaven" and "The Perfect Girl" still delights, and the frisson provided by "Shiver And Shake" reinforces the physical nature of this collection.

Sprawling echo-laden songs that are delivered with whispery, breathy vocals and slowly turning guitar arpeggios. "Two Plainclothes Cops" is a cryptic, faintly psychedelic reverie with sparse, crumbling chords, while the piano-stoked "Georgia May" is sweetly ethereal. There's a Western grandeur to the austere jangle of "Kodachrome Wolves," and Josh Kasselman's fragile, feathery vocals swim in and out of the watery '60s pop of "Locked Out and Wandering."

Emily Barker has released her first solo album Photos Fires Fables to tremendous acclaim, both from her fast-growing fanbase and from the media. Somehow Emily Barker has managed to cross over the borders of Folk and Americana in the way few artists outside of America have been able to do. Rising stars such as Antje Duvekot in the USA have taken the Celtic and English Folk origins and forged them with traditional singer-songwriting, but on Photos Fires Fables Emily Barker stamps out her own personality with her soaring and magical vocals and imaginative and plaintive songwriting. Hailing from Blackwood Valley in Western Australia, Emily Barker struck a chord with the revered late BBC broadcaster John Peel who supported her playing tracks on his show. Emily's band The Red Clay Halo, provide sympathetic acoustic support without ever threatening to overwhelm her warm and sensitive voice. Dividing her time promoting Photos Fires Fables in both the UK and her native Australia, Emily Barker's impact has been sudden but not unexpected by those who saw her opening set at the 2006 Cambridge Folk Festival, performing material from Photos Fires Fables accompanied by the strings and accordion of The Red Clay Halo.

WPA were formed by Mick Thomas in Melbourne in 1985, initially with drummer, Marcus Schintler, later recruiting accordionist Mark Wallace, guitarist Dave Steel, and bassist Janine Hall (formerly of the band The Saints).

An independent EP, and constant touring of Australia caught the attention of WEA Australia, who signed the band in 1987, and promptly released their debut album, Scorn Of The Women. Janine Hall left the band following the release of the album, and was replaced by Peter Lawler. It was that line-up that produced 1988's Roaring Days. 1988 also saw WPA winning its first ARIA award for 'Best New Talent', which was followed by another ARIA in 1989 for 'Best Indigenous Release' (Roaring Days). Dave Steel left the band following a tour of North America, citing exhaustion as the chief reason. He also noted in several interviews, at the time of his departure (1988), that he was feeling frustrated not getting a lot of his material on the WPA albums. He released his debut solo album, through WEA in 1989. He was replaced by Richard Burgman for 1989's The Big Don't Argue, and accompanying tours. In 1989 the band won a third ARIA for 'Best Indigenous Release' (The Big Don't Argue).

The band spent a great deal of time touring over the next three years, and managed to release only one EP in 1990, titled The Weddings Play Sports (and Falcons), featuring cover versions of the bands The Sports, and Jo Jo Zep & The Falcons. The band resurfaced, on CD in 1992, with Difficult Loves and yet another guitarist, Paul Thomas, replacing the departing Richard Burgman. The single "Fathers Day" reaching No. 42 on the ARIA charts, was nominated for 'Single of the Year' and won 'Song of the Year' at the 1993 ARIA awards). This line-up (Michael Thomas, Paul Thomas, Mark Wallace, Marcus Schintler, and Peter Lawler) remained in tack for another two years, producing one more CD, King Tide in 1993. Following the world tour to promote that release, Marcus Schintler left the band for family reasons, with Peter Lawler leaving a year later to pursue a solo career.

Thomas reformed the band, and by 1996, the new line-up of WPA were ready for their first release, the independently produced Donkey Serenade. The band now included Jen Anderson (violins, mandolin)(formerly of the band, The Black Sorrows), Michael Barclay (drums), Stephen O'Prey (bass), as well as Michael Thomas, Paul Thomas and Mark Wallace. The music style shifted somewhat from folk to a more alternative country sound. The band decided at this time to concentrate on the Australian market, and did less touring outside of their native Australia.

WPA finished 1997 with a new release, Riveresque on a new label (Mushroom/Sony), and by 1998, the band decided to take a break and work on several solo projects, including Michael Thomas's musical Wide Open Road.

WPA initially gained a reputation as a hot new band through their constant touring in their early days; however they never really became a commercial success. They did however, form a fanatical supporter base, known as the "Wedheads" that continued to sustain the band for years. Upon the conclusion of the band several members continued on to other projects, with Mick Thomas creating Croxton Records with friend Nick Corr.

Renowned for their energetic live shows, WPA had a handful of live songs that were nearly always guaranteed to push the mosh pit into a frenzy, particularly "A Tale They Won't Believe", the story of Alexander Pearce, a cannibal in the convict days of Tasmania. Also known for the especially legendary Christmas shows which grew from one night on Christmas Eve to a full week of live shows at the Central Club Hotel in Richmond. The 1998 show was recorded and released as a double live album, They Were Better Live, which was nominated for an ARIA award in 1999 for 'Best Blues & Roots Album').

Musically, WPA were a combination of Australian indie and garage rock, sixties folk, punk and (later) country. They lead what later became known as the alt-country scene in Melbourne. WPA were often compared to The Pogues, though the two bands were actually contemporaries rather than one following the other; the two bands toured Australia together in the early '90s.

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I Could Fill A Room With Empty Pockets

I'm a child of the 60's had my first guitar by 8. Spent the 80's playing in indie bands in Brisbane and Sydney Australia. An innovative and challenging time for Australian music, "It's coming of age". Time passes and the smoke haze and stale smell of beer has faded... I now work as a teacher in Thailand, still have my guitar, still love music. Peace & Love